We're excited to share with you our new look along with some additions to our website. Each month we will be featuring essays on the craft of making audio fiction. We're launching with the amazing insights from Love Me producers Cristal Duhaime and Mira Burt-Wintonick about how the familiar can enhance your creativity. And get ready for upcoming essays from Jonathan Mitchell of The Truth, James Urbaniak from Getting on With James Urbaniak, and many others. A very special thanks to the Panoply Network for their generous contribution that made these essays possible.
We are also adding reviews of fiction podcasts from around the world. Our hope is that we can expand the critical discourse about radio dramas and shed light on some of the most innovative and interesting work.
We're doing all of this as we continue to spark creativity with our Very, Very, Short, Short Stories Contest, and feature amazing fiction on our Serendipity podcast. Out goal is to be a space that both celebrates and inspires creative people to share their voices and play with audio fiction. We hope you will join us--because this revolution will not be televised.
In this episode of Serendipity, we play 5 of the 10 finalists for our 2016 Very, Very, Short, Short Stories Contest. Featuring: "Bitterly Cold" by David Garland, "The Staging Area" by Jason Gots, "Noir" by Pa Ying Vang, "#blessed" by Jackie Heltz, and "Blinking" by La Cosa Preziosa. Read More
The Sarah Awards and Audible are extending the Brave + Bold deadline to Feb 15th. This gives you more time to fulfill your resolution of becoming an audio fiction star in 2018. The winner of the contest will receive a $15,000 development deal with Audible to create an audio fiction pilot. The deadline for submission is Thursday, February 15, 2018. Click here to enter and learn more details about the contest. Read More
James Urbaniak is the kind of podcaster that other producers love to hate. His show, Getting On with James Urbaniak, consists of nothing but a single voice reading a fictional soliloquy, often written by someone else. There is almost no elaborate soundscaping, no intricate plot development, little evidence of endless editing sessions to get the thing just right. Getting On sounds like Urbaniak cruised into the studio, an iced latte in hand, and finished recording before his drink grew tepid. None of this would be infuriating if the podcast in question wasn’t so good. Read More